Janyce Denise Glasper

December 7, 2019 by Janyce Denise Glasper

Janyce Denise Glasper recently spoke at the Philadelphia Avant-Garde Studies Consortium (PASC), and you can read what she had to say here on Artblog!

September 19, 2019 by Janyce Denise Glasper

Arts of Global Africa at the Newark Museum, excellent contemporary art by artists of the African Diaspora

Janyce Denise Glasper sees an exhibit at the Newark Museum that showcases the excellence of art made by contemporary artists of the African diaspora.

June 16, 2019 by Janyce Denise Glasper

Vital works by Augusta Savage, Harlem Renaissance hero, at New York Historical Society

Janyce Denise Glasper visits “Augusta Savage: Renaissance Woman” at the New York Historical Society and experiences why this important female figure of the Harlem Renaissance is a hero to herself and others.

May 5, 2019 by Janyce Denise Glasper

Influenced by Wyeth, Mario Andres Robinson’s powerful portraits of people of color

Janyce Denise Glasper visits The Florence Academy in Jersey City, NJ, for a powerful exhibit of watercolor portraits by Mario Andres Robinson.

April 3, 2019 by Janyce Denise Glasper

‘Olympia’ Gives The Most Voiceless Visual Artists a Platform to Stand On

Janyce Glasper sees an insightful movie that deals with issues of post-graduate artists trying to make a go of it in the world today. “Olympia” screened at Lightbox Film Center as part of the Fifth Annual Philadelphia Women’s Film Festival.

March 15, 2019 by Janyce Denise Glasper

Culinary meets literature in Our Mothers’ Kitchens

Janyce Denise Glasper speaks with Shivon Pearl Love and Khaliah D. Pitts, founders of Our Mothers’ Kitchens, a culinary/ literature project created by and for black people. Check out this interview to learn more about the project, which celebrates four black women authors, and its accompanying Summer Camp for Black girls!

December 10, 2018 by Janyce Denise Glasper

Nina Chanel Abney tells hard truths and leaves room for questions at Pace Prints

Like many local artists, Janyce Glasper treks up to New York every now and again to see what’s new. Here she fills us in on the latest from Nina Chanel Abney, who has just started translating the aesthetic of her politically-charged collage paintings into monoprints. If your plans take you to the big(ger) city, you can view Abney’s powerful, ambiguous work for yourself at Pace Prints through December 15, 2018.

November 8, 2018 by Janyce Denise Glasper

John Dowell spins redemption from cotton’s painful history at the African American Museum of Philadelphia

Janyce Glasper offers a poetic reflection of John Dowell’s current exhibition at the African American Museum of Philadelphia, Cotton: The Soft, Dangerous Beauty of the Past. On view through January 21, 2019, this installation of large-scale prints and medium-format digital collages explores slavery, not as a particularly southern phenomenon, but as an institution that haunts our nation from Alabama from Wall Street. What’s more, Dowell uses the symbolic force of cotton to carve out a space for personal reflection and collective celebration.

September 6, 2018 by Janyce Denise Glasper

The Common Room, a gallery, work space and store for womxn and non-binary artists, turns one

Congratulations to The Common Room on their one-year anniversary! Don’t know about them? Janyce Glasper is here to fill you in on this Fishtown gallery and workshop space that features work by women and non-binary artists. Read on for a sampling of what’s on view and be sure to stop by the store next time you’re in the neighborhood!

August 14, 2018 by Janyce Denise Glasper

Makeba Rainey on Gentrification, Collaboration and Embracing Diaspora

New Artblog contributor Janyce Denise Glasper speaks with artist Makeba Rainey about and her digital portraiture, her Harlem roots, and her growing role in Philadelphia’s Black arts ecosystem.

November 16, 2016 by Janyce Denise Glasper

Rest But Don’t Forget to Weep – 2016 New Art Writing Challenge Finalist

The Colored Girls Museum contains harrowing levels of metaphoric entryways into once traumatized eyes of the black girl. This provincial ghost overcame dishonorable past. Oppressive chains and tyrannical rulers whipped flesh off back and placed choke hold on her mind, body, and soul. Now released yet not entirely freed from damaged control, she tells many stories inherently stretched through visiting artists. Their works adhere to her walls, sleep on her mantles, stand on her floors.